Angel Long has just written a blog about our recent shoot. I thought you would like to read it, so here’s the link to her blog:
Angel Long has just written a blog about our recent shoot. I thought you would like to read it, so here’s the link to her blog:
I have had a few requests to see the bondage work I did with pregnant models and although most of the shots are in earlier blog posts I thought it was worth pulling them all together into a single post to make them easier to find. I’ve also added an image that whilst is not strictly bondage, it does have some pegs and a wrist-cage which I really like.
A few people have commented on images I have posted concerned that it was dangerous for the mother and baby. Bondage should always be done with feedback from the model, the ropes were no tighter than an elasticated waistband. Model safety comes first, I’ve done a few bondage pregnancy shoots now and all mothers and babies have gone on to have natural and uncomplicated births with healthy newborns.
I photographed Angel Long last weekend shooting for my portfolio content and for my pay-to-view website www.Erotica-Babes.com which contains more explicit content. Angel is a well-known pornstar and she was great to work with, easy-going and very hot when the camera is turned on her. She is very experienced not only in terms of modelling, but also in producing content. It was good opportunity to work with someone who also produces their own content and we had some great conversations about generating ideas, how we did things and our differing approaches. I feel we learnt things from each as well as taking some great images.
I thought you might like to see some of the images we shot over the weekend and unusually I’ve included both outputs; e.g. those destined for print sales on www.johntisbury.co.uk and those which will be uploaded to www.Erotica-Babes.com. Why include both? Well I thought you might like to see the style and approach for my more explicit work, although the samples below are not that explicit, I chose the more tame versions to include in this post. You will see that I use slightly more light and shoot mostly in colour, so there is a difference in style, however I hope you can still see my underlying lighting approach and I aim to light the models to the same high standard as my normal erotic content.
I arranged a shoot with a new model, well new to me anyways, ChinaStar. She had been badgering me for ages to shoot together and I finally caved in and we organised a shoot. You might be wondering why I was reluctant to shoot with her, well the simple reason is currently I’m tending to book shoots with the object of having dual output; content for my own print portfolio and content for my more explicit member’s pay-to-view website www.Erotica-Babes.com. As a result I book models who work to higher levels than full frontal nude (art-nude). So in this instance we were planning to shoot content for my print portfolio which meant shooting to full-frontal nude as a maximum level.
When I shoot for my own print portfolio I tend to do short bursts of say 25-35 images and then move onto another idea and setup. I do take less shots if the idea stinks and has no legs! However, rarely do I take more than 35 images on an idea, there are a couple of reasons for this:
Below are some of the images from our 4 hour session, as you can see they are all from different sets apart with 3 being the most from any one set/idea.
By chance I stumbled upon a model who lives just down the road from me, well not literally on the same street, but certainly less than a very short car journey away. So I arranged a short 2 hour shoot to see how we got on, some of the edits from that shoot you can see below. Let me know your thoughts…
I don’t tend to do many TF (Time For) shoots, where both parties give their time for the output, as I often find that the images taken during such sessions are saleable so it makes no commercial sense not to organise the session as a paid shoot in the first instance. However, as ever there are exceptions to that rule and often when it involves trying out equipment, ideas and/or incorporating a lot of suspension bondage work then I opt for TF, providing both parties are in agreement. The time taken to rig and de-rig can limit the content that you can cover during a session, so too fatigue that the model encounters with strenuous ties and positions, so a TF session takes the commercial pressure off the session and allows you to have a free rein.
A model called Gestalta contacted me via Facebook wanting to know if I would like to shoot some shots for her as she does quite a few exhibitions and demonstrations of shibari rigging and did not have any good images of her performances. Trying to get good images during an onstage performance is very difficult as lighting, background and the ability to direct the action are all against you. I’d worked with Gestalta before back in 2009 so she was familiar with my work and I hers, although I was not aware she had become so involved in the rigging and shibari demonstration and exhibition scene. I was happy to go with the TF session as it would be trying out ideas and using rope work extensively throughout the session. For me I’d just had a re-organisation of the studio to give me more width specifically to shoot suspension and want to see how that worked out, as well as shoot some video content for a showreel which I’d not done too well at in the past. I was also keen to expand on one of my underlying themes that I keep returning to of bondage and ballet, a theme I’d first shot with Joceline back in March 2007. Below are some of the images that we took during the session, rigging was a joint affair, or Gestalta or me doing the rigging.
These shots are all from the same shoot with KatyCee, we shot 350 images during the 5 hour session, but covered so much ground and a variety of ideas and concepts that I thought it was worth sharing this diversity and explaining my approach to achieving it.
When I shoot I tend to run with an idea for about 30-40 shots at most, after that I find you can end up being repetitive and not moving the idea forward. If the idea is going great, then I’ll let it run, however in most cases we will get some great images within the 30-40 shots and seeing as I will only use the best 2 or 3 images from each set there’s little point of carrying on once you have those. So we call a halt and then move onto another idea, this approach keeps both me and the model fresh, new props, new ideas and changes of lighting. Short bursts of creativity, action and ideas and then onto something else. This approach works for me and most models I’ve worked with feel the same, however like most things around creativity you will need to find what works for you.
Just to add a model’s viewpoint, if you do shoot long sets e.g. 150+ images per set and then swap onto something else, if your model is not inspired by the idea, then subconsciously they will know they have a long wait before moving onto something else. This won’t help their modelling or posing, so if you do short sharp bursts, if they are not keen then they know that very soon something else will come along.
I’ve often called a halt on ideas that sounded great until we actually started shooting and they turn out not to produce the fruit I was looking for. Rather than flogging a dead horse I’ll call a halt and move onto another idea. Often I’ll store those ideas and try them with another model or two. If they still stink and produce no fruit then I bin the idea completely. It is interesting that often a different model will produce a completely different outcome to the same initial idea, I often store up ideas specifically for a particular model who I know will do a wonderful job working with the idea.
I keep all my ideas on my iPhone, as soon as I get one, I add it to the Notes app on my phone including some detail and thoughts behind the pose. It can sit on the phone for many weeks before seeing the light of day. I’ll usually add to it over the coming weeks as the idea evolves and extra bits of information flood in. This works for me, I have about 50 ideas sitting on my phone waiting to be shot so I never worry about running out of things to do!
I’ve just been notified that I received an Honourable mention in the 2012 Bondage Awards in the Bondage Photographer Category. This is excellent news as I’ve only recently started getting in to rigging and bondage photography so it is great to be recognised this early on for the work I am doing.
I thought I’d celebrate this achievement by posting some bondage work that I have done in the past for your viewing pleasure. In 2013 I intend to explore the area on bondage even more as I like the look of the rope and how it squeezes and changes the shape of the body and the skin. I also like the way the tie restricts a model’s movements making them work and think slightly differently that they normally would. I feel it pushes both me and the model to try new ideas, poses and ties which can only led to different ideas, creativity and results.
I’ve always been fascinated how light and water interact, especially with reflections and shadow play on moving and rippling water. Some people get mesmerised by staring into a fire in the same way I get visual pleasure by the play of light on top of the water as well as underneath it.
I was fortunate to hire a holiday villa for a week with my wife and I took along a model for the week to photograph them, so a sort of working holiday if you like. I’d recently purchased two Nikon D7000′s with prime lenses, which I’d be using primarily for video work, but also for some stills work. I thought that whilst in Spain with the super clear light, warmer weather and sunshine it would be too good an opportunity to miss to take some underwater images and video footage of the model. My first challenge was to find a waterproof housing unit, and here I didn’t want to spend thousands on a high-end camera casing as I’d no intention of taking up scuba diving again and taking the camera down into the depths. I did want to take advantage of the prime lenses and quality of the Nikon equipment but ensure it kept dry and safe to a depth of about 6 feet, which was the depth of the pool we had in the villa. After a bit of research I located the SLR Camera Case from Aquapac costing £95 : http://store.aquapac.net/slr-camera-case-458.html
This product is submersible to a depth of 15 feet for up to 30 minutes, both depth and duration were well above what I had in mind so I ordered one. When it arrived I fitted my Nikon into it and tested it out in the bath to make sure it was okay. Being small and soft-formed it was easy to pack along with all my other gear on the flight across to Spain.
In use, it took a while to get used to handling the camera through the rubberised bag, it was like wearing heavy duty gardening gloves, in the end I used manual focus, a good depth of field and set the exposure manually before each session so I only had to press the shutter button. Framing was also a bit hit and miss, I was wearing prescription swimming googles so I could actually see underwater, but meant that looking through the camera’s viewfinder was tricky. In the end I got to pointing the camera at the model and working from there. My first couple of attempts with this technique meant I chopped off limbs, heads and even missed the model completely! However, with constant review and practise I got better and better with framing the model in the shot.
During the course of the week we shot stills and video footage in the pool and reviewed it afterwards, by day four we were really getting on well and getting some good repeatable results. It it impossible to communicate with your model underwater and as she was swimming widths of the pool it meant I could take 1 or 2 shots per width. So before each width we would discuss the pose, the depth, the camera position to make sure we each knew what to do.
Below I’ve included a selection of the better stills from the sessions in the pool shot during the week. I shot about 1200 stills and ended up with about 10 that I’m happy with, so not a good success ratio that’s for sure. I’m still not sure whether I prefer the mono or colour versions best. What I do like very much indeed is the play of light on the model’s body, which was the main thing I was trying to capture with these images.
I had the opportunity to shoot in an old Victorian school with the wonderful model Elle Black, an opportunity I took with gusto both because of the location and last time I worked with Elle we worked well together and took some wonderful shots. This session was no exception. Timescales were tight as the builders were due to return to the school to start renovations and tidy things up ready for the school to be operational again, so I grabbed my chance to legally shoot there before they turned up. Below are some of the shots from this shot, I’ll add a few more once I’ve edited them.